Literature for a Pandemic
(and Beyond)
Sounds from the Gray Goo Sars-CoV-2
by Jennifer Jolley
Overview:
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Key signature: None (uses accidentals) Length: At the discretion of performers
Time signature: None Style: Improvisatory
Tempo: Quarter note = 52-66, 92 Dynamic range: niente - ff
Grade Level: 4 Scoring: 2 part Full Flex Modular/Cellular
Instrumentation:
C Treble Woodwinds, Bb Treble Woodwinds, Eb Saxophones, Bb Treble Brass, Horns,
Low Brass, Optional Percussion
Special Considerations:
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In the program note, Jennifer Jolley writes, "After witnessing my first experiment for percussionist plus laptop performer (Sounds from the Gray Goo), clarinetist Rebecca Danard wanted me to write a laptop improvisation piece for her, so I eventually did. Rebecca suggested that we work with pentatonic scales for our improvisation, so I created ten cells of notes (ranging from low to high) based on four Japanese pentatonic scales, then I recorded Rebecca improvising with the notes of these cells - all forty of them. The recordings of these improvisations were then electronically processed; this is included in the second clarinet part. I adapted this version, Sounds from the Gray Goo Sars-CoV-2 for flex ensemble."
According to the performance notes for the piece, each part (part one or part two) has its own rhythmic cell. The cells are performed using pitches from one of the four groups of Japanese pentatonic scales "Ryo", "Ritsu", "Yo", and "In". While the rhythmic cells must be performed exactly, there is a great deal of freedom with the pitches. They may be performed in any octave and in any order, although Jennifer Jolley emphasizes that the entire piece (cells 1-10) moves from low to high. Musicians are able to decide how many times they want to perform each cell and they can skip cells, if they wish. Ensemble
members are able to switch which pitch group (1-4) they play to accompany each rhythmic cell. For example, a person could play Ryo (part 1) on cell #1 and switch to Yo (part 3) on cell #2. There are optional extended techniques in part 2 (b). The piece can be performed with as few as two people, but if there are more players, a few of them can perform the special effects. Musicians are able to chose how they shape the piece, since not every instrument needs to play the entire time. Jennifer Jolley invites performers to make the piece their own and have fun with it. Her only request is that the overall pitch structure progress from low to high.
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Rehearsal Suggestions
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Musical Expression:
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The key to Sounds from the Gray Goo Sars-CoV-2 is to have fun. Musicians are given the opportunity to express themselves through individual and collaborative decisions. Each player gets to communicate their own personality through the pitches and ranges they choose. They get to experience communication with other musicians, as they work together to create the form of the piece. Have ensemble members reflect on how playing different pitch sets on each cell (or each time through the entire piece) influenced the emotions they felt.
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Tonality/Intonation:
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All of the pitches are based on four Japanese pentatonic scales (Ryo, Ritsu, Yo, and In). Because the musicians are able to decide which pentatonic scale they play during each of the ten cells and because they are given the freedom to decide the order notes are played within each cell, there is no way to predict what notes will be played at the same time between performers. Players should tune before the piece begins, but intonation during
Sounds from the Gray Goo Sars-CoV-2 will be based on listening and adjusting in the moment. It is expected that the piece will be performed with a great deal of dissonance.
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Musicians choose when they transition from one cell to the next, so there is not a need for a unified ensemble pulse. Players have the freedom to choose the tempo on cells 1-3 and 9-10, within the range of 52-66 beats per minute. Cells 4-8 have a tempo of 92 beats per minute. Because musicians will not be moving from one cell to another at the same time, the only pulse requirement is that they can play within the tempo ranges indicated.
Musicians need to understand how to count each rhythm. Have players count and clap the rhythm for their part in each cell. Once they can do this with precision, instruct them to think and play the rhythm. Performers will be playing each cell as many times as they want before moving to the next cell and they are allowed to skip cells, so rhythmic precision between part 1 and part 2 in each cell is not an issue. Musicians only have to focus on playing their individual part in each cell with rhythmic accuracy.
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Sounds from the Gray Goo Sars-CoV-2 has an incredible dynamic range from niente, which literally means "nothing" in Italian, all the way to fortissimo.
In this case, the dynamic levels are more about what the individual player can achieve, rather than having an entire ensemble playing with perfectly balanced dynamics. Encourage players to experiment with how softly they can play with a beautiful tone quality (from nothing) and how fully and strongly they can play with a beautiful tone quality. Then challenge them to fill in the dynamics in between and set their own levels. To achieve the desired effect, the dynamic levels for individual performers should be on the same relative scale throughout all the cells.
To practice crescendos and decrescendos of varying lengths, Edward Lisk explains in his Creative Director Series books that the musicians should count aloud the number of beats
the crescendo or decrescendo lasts. If it is an 8 beat crescendo from piano to forte, have them start counting aloud softly at "one", gradually getting louder until their voice is forte at "eight". If the crescendo is longer or shorter than eight beats, have them count to the exactly the length of the crescendo (for example one through nine for a nine beat
crescendo or one through three for a three beat crescendo). Remind the musicians they should never be whispering or shouting (even at niente or fortissimo) because that does not represent good tone quality on the instrument. After they can do this evenly (or at whatever rate you wish them to do it in the piece), then they should think the same thing while playing it into the instrument. This skill will develop over time. The essential idea is for the musician to be able to say it correctly and then think the same way, while playing.
The process is the same for decrescendos, except counting backwards 8, 7, 6, 5, 4, 3, 2, 1 (or 9-1 or 3-1), starting with the voice louder and gradually getting softer. Decrescendos are usually more challenging to do evenly at first, so continue to draw attention to making sure the voice is correct and then apply it on the instrument. With time, players will be able to play crescendos and decrescendos of various lengths.
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Articulation/Style/Phrasing:
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Some of the rhythmic cells utilize accents and tenutos. Have performers contemplate how the given articulation markings contribute to the character of each cell. Allow musicians to reflect on how the mood of the cell is influenced by accents versus tenutos. Encourage players to look at the overall structure of the ten cells and try to find patterns and make connections.
Ensemble members are given an incredible amount of freedom in terms of the pacing of the piece on a micro and macro level. Even if more than one person is playing each part of the rhythmic cells (part one, part two, and part two b), there are still four pentatonic scale options.
Additionally, the pitches within each scale can be played in any order and range. The possibilities are infinite, so performers are completely responsible for shaping the phrases they have created in a convincing way.
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Extended Techniques:
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Jennifer Jolley has created an optional part 2 (b), which calls for extended techniques such as key slaps, blowing air, slap tonguing, and tongue rams.
Key slaps require musicians with woodwind instruments to slap down the keys with their fingers (harder than they would normally press the keys). No air should be blown through the instrument.
Blowing air is when brass players blow into the mouthpiece without allowing their lips to vibrate. Keep the lower lip below the mouthpiece, while the upper lip goes over part of the mouthpiece ensures a sound of rushing air, without any tone.
Slap tonguing can be performed on single and double reed instruments. First, the player has to create suction and close the reed off with the tongue. Then the player must release the tongue and at the same time, puff air into the instrument. Slap tonguing produces the best tone in the lower range of the instrument.
Tongue rams (sometimes called tongue stops) are a technique on the flute. First, the musician rolls the head joint in. Then they cover the embouchure plate with their lips. Finally, they stick their tongue through their lips, so it hits the tone hole, while blowing a sudden puff of air.